
In the landscape of mid-twentieth-century children’s literature, C.S. Lewis’s The Chronicles of Narnia initially appears remarkably progressive. Long before modern fantasy embraced the trope of the fiercely independent heroine, Lewis gives us the Pevensie sisters, Jill Pole, Aravis, and Polly Plummer. These are active, clear-eyed adventurers. Lucy is the spiritual compass of the entire saga, possessing a theological clarity that routinely eludes her brothers. Jill braves subterranean terrors to rescue a captive prince, while Aravis flees an arranged marriage with the sharp wit of a seasoned survivalist. In Narnia, childhood is a meritocracy of spirit, and Lewis grants his young girls immense pluck, agency, and divine grace.
However, from a feminist and theological perspective, this grace comes with a strict expiration date, and a jarring ideological fracture occurs the moment a female character crosses the threshold into adult womanhood. I find that although Lewis champions the plucky girl, he displays narrative anxiety toward the grown woman. Could it be that in the Narnian universe, female maturity is treated as a spiritual fall from grace, an intersection where Christian purity is compromised by adult desire and bodily autonomy?
Continue reading “Brave Girls, Bad Witches: Age, Agency, and Anxiety in C.S. Lewis’s Chronicles of Narnia by Elanur Williams”




About 20 years ago I witnessed a performance of the 3 plays of the Oresteia (the Orestes plays) by Aeschylus. I was stunned. Watching them in sequence, I understood that the plays were one of patriarchy’s “just so stories” and that their continuing performance was part and parcel of patriarchy’s perpetuation and legitimation.